Pric 




Pygmalion and Galate; 

by W. S. Gilbert. 




CHICAGO- 
•TMC a«4'MiATrt: PUBLISHING O^MPANY* 



The Dramatic Publishing Company, Chicago. 

THE MERRY COBBLER, j 

Comedy Drama in Four Acts ' 

BY 
JOHN A. FRASER, Jr. 

3ix male, five female characters. Two interior, two exterior scenes. Mod- 
eostumes. Time of play, one hour and forty-five minutes. This refined, 
aughter-making comedy, in which John R. Cumpson starred successfally 
}everal seasons, has been carefully revised by the author for the amateur 
e. This romantic story of a German imigrant boy in New Orleans, who 

. 1 in love with, and finally marries, a dashing Southern belle, is one of the 
nest and daintiest in the whole repertoire of the minor stage. In addition 
le Merry Cobbler himself, who is one of the type the late J. K. Emmot so 

' d to portray, there are five other male characters, five female parts and 
short parts for two little girls. Had the piece been originally written 
the use of amateurs, it could not have been happier in its results, its natural 
mirth-provoking comedy combined with a strong undercurrent of heart- 
rest, rendering it a vehicle with which even inexperienced actors are sure 
e seen at their best. The scenic effects are of the simplest description and 
climaxes, while possessing the requisite amount of "thrill" are very easy 
andle. This piece has been seen in all the larger cities of the Union dur- 
the past four seasons, and is now placed within the reach of amateurs for 
first time. J. A. Fraser, Jr., author of " The Merry Cobbler," and a score 
ther successful plays, has prepared elaborate instructions for its production 
,mateur players. Price, 25 cents. 



V DELICATE QUESTION, 

Comedy Drama in Four Acts 

BY 
JOHN A. FRASER, Jr. 

ine male, three female characters. One exterior, two interior scenes, 
rn costumes. Plays two hours. If a play presenting an accurate picture 
) in the rural districts is required, in which every character has been faith- 
studied from life, nothing better for the use of amateurs than "A Delicate 
ion " can be recommended. The story is utterly unlike that of any other 
nd deals with the saloon, which it handles without gloves and at the 
:ime without a single line of sermonizing. What "Ten Nights in a Bar- 
' was to the public of a past generation, "A Delicate Question" is des- 
to be to the present, although it is far from being exactly what is known 
temperance play," The plot is intensely interesting, the pathetic scenes 
: beauty, because they are mental photographs from nature, and the com- 

simply uproariously funny. The parts, very equally balanced. The 
: effects are quite simple, and by a little ingenuity the entire piece may 
yed in a kitchen scene. The climaxes are all as novel as they are effec- 
ad the dialogue is as natural as if the characters were all real people, 
uthor, J. A. Fraser. Jr., considers this one of his greatest successes. 

25 c( ntb. . , 



THE VOELD ACTiytr DEAMA. 



PYGMALION AND GALATEA. 



AN ORIGINAL 



MYTHOLOGICAL COMEDY. 



IN THREE ACTS. 



BY W. S. GILBERT. 



CHICAGO: 
DRAMATIC PUBLISHIIS^G COMPANr. 

c 1 % ^ b ^^ 



PYGMALION AND GALATEA. , 
?1{4^I3 

JJMJMATIS PEIiSON^. ^^n 

Gnginal, IS S4 

Ilaumarket^ Lydum. 

London, London, 

Dec. Wi, 1871. Dec. 8th, 1883. 

Pygmalion- (an Alhenlan 6(7//v>/o/).\[r. W. II. Kendal. Mr. J. H. Batnee. 

LEucuTi] (« soldl(-r) :Mr. Howe. Mr. F. H. Mackliu. 

C'navsos {an. art i>ai I'on) >.Ir. J. B. Buckstone. Mr. II. Kerable. 

AiiEsiMos (rA/',/.svys- s'(irf) Mr. Braid. Mr. E. T. March. 

Minos {Pi/qindJ inn's >/,. / v- Mr. Wcatliursb3\ Mr. Arthur Lewis. 

Galatea {(in aohnaUd sialuc) Mies M. Robertson. Mies Mary Anderson. 

Cynisca {Pyqmalibh'i'. wife) Miss Caroline Hill. Miss Amy Rosellc. 

Daphne {Chnjsos'' wife) Mrs. Chippendale. Mrs. Arthur Stirling. 

Myeine {P yg medio iCs sister) Miss Merton. Miss Annie Rose. 



SCENE: PYOM ALIGNS STUDIO. 



{The actioih /.s compnaed within the .space of iweniy-four hours. 
Lime occujricd in representation^ one hour and fliree-quariers.] 



>;oTE.— The statue of Galatea should be modelled expressly to resemble 
the hidy who !)lay8 the part. If this is impracticable, some existing statue 
may be used, Ijut it is esseutial that its drapery should be perfectly modest 
juid Himpl(>. The "ch;iuae" from tlie statue to the living person is most 
cojivciiion.tiy etlcjcted by me:ius of a propeiiy counter weighted "turu-table/'' 
Oil winch She actress and statue iire placed back to back, with what is techni- 
cally known as a '•hacking"' lietweeu them. The two curtains that conceal 
tiie statute should " travel" on two separate but parallel iron rods, three 
inches apart, and the curtams should be broad enough to overlap each other 
three or lour inches. 



STAGE DIRECTIONS. 



R. means Riget of Stage, facing the Audience; L. Left; C. Centre; R. C. 
Right of Centre; L. C. Left of Centre. -D.-^Fi^Door in the Flat, or Scene run- 
ning across the back of the Stage ; C. D. F.'Oentre Door in the Flat; R. D. F. 
Right Door in the Flat; L. C. F. Left Door in the Flat: R. D. Right Door: 
L. D. Left Door; 1 E. First Entrance; 2 E. Second Entrance: U. E. Upper 
Entrance; 1, 2 or .3 G. First, Second or Third Groove. 

R. R. C. C. L. C. L. 

The Pieader ii iuppoied In he on the Hl(irn\ facing the Andiencf, 

Exduuige 

Univ. of Mich. 

NOV 2 5 1«» 



-5- 



PYGMALION AND GALATEA. 



ACT 1. 

SCENE: PYGMALION'S STUDIO. 

[Several classical statices are placed about the roomer at 
the bach a temple or cabinet containing a statue of 
Galatea, before lohich curtains are draion concealiny 
the statue from the audience. The curtains must be so 
contrived that they ivill open readily and display the 
stutue completely^ without much effort on the part of 
the actor who opens them. They must also be fitted 
loith mecJianical appliances to close apparently of their 
own ciccord at the latter part of Act III.; doors., e. 
and L., I. E. L. Zrd e., and opening u. e. r.] 

[Mijios, a slave., is discovered at vnorfi., l. c, on a half 
finisJied statue. To fiim enter Agesimos, • u. e. R.y he 
is magnificently dressed\ he comes down r. c] 



Ages. {Jiaughtily.) Good day. Is this Pygmalion's studio? 

MiM. (bounng.) It is. 

Ages. x\re you Pygmalion ? 

MiM. Oh, no; 

I am his slave. 
Ages. And has Pygmalion slaves? 

A sculptor with a slave to wait on him; 

A slave to fetch and carry — come and go — 

And p'raps a whip to thrash him if he don't! 

What's the world coming to? (sits e. c.) 
MiM. What is your will? 

Ages. This: Chrysos will receive Pygmalion 

At half -past three to-day; so bid him come. 
MiM. And are you Chrysos, sir? 



4 PYGMALION AXD GALATEA. 

Ages. Well, ho I'm not. 

That is, not altogether, I'm in fact, 

His slave. 
Mm. [relieved.) His slave! ha, ha! 

Ag:es. (re /'(/ proudly— rises) — My name's Agesimos! 
MiM. And has Agesimos a master then. 

To bid him fetch and carry — come and go — 

And wield a whip to thrash him if he don't? 

What's the world coming to? {Resumes icork.) 
Ages. Poor purblind fool! 

I'd sooner tie the sandals of my lord, 

Than own five hundred thousand such as you. 

Whiyj! why Agesimos would rather far 

Be whipped by Chrysos seven times a day. 

Than whip you hence to the Acropolis; 

What say you now? 
MiM. ^^^l^y? that upon one point 

Agesimos and I are quite agreed. 

And who is Chrysos? 
Ages. Hear the slave, ye gods. 

He knows not Chrysos. 
MiM. Verily, not I. 

Ages. He is the chief est man in Athens, sir; 

The father of the arts — a nobleman 

Of princely liberality and taste, 

On whom five hundred starved Pygmalions 

May batten if they will. 

Enter Pvgmaliox, u. e. f.., down c. 

Pyg. Who is this man? [Agesimos. 

Ages. {Irandyly) I'm Chrysos' slave — (proudly) my name's 
Chrysos has heard of you; he understands 
That you have talent, and he condescends 
To bid you call on him. But take good care 
How you oifend him; he can make or mar! 

Pyg. Your master's slave reflects his insolence! 

Tell him from me that, though I'm poor enough, 
I am an artist and a gentleman. 
He should not reckon Art among his slaves; 
She rules the world — so let him wait on her. 

Ages. This is a sculptor! 



PYGMALION AND GALATEA. O 

Pyg. (furiously) — And an angry one! 

Begone, and take my message to your lord. 

[^Exit Agesimos, e. u. e. 
Insolent hound! 

Enter Cynisca, e. i. e. 

Cyn. Pygmalion, what's amiss? 

Pyg. Chrysos has sent his slave to render me 

The customary tribute paid by wealth ' 

To mere intelligence. 

Cyn. Pygmalion! 

Brooding upon the chartered insolence 

Of a mere slave! Dismiss the thought at once. 

Come, take thy chisel, thou hast work to do 

Ere thy wife-model takes her leave to-day; 

In half-an-hour I must be on the road 

To i\.thens. Half-an-hour remains to thee — 

Come — make the most of it — I'll pose myself; 

Say — will that do? {Poses herselj against base e.) 

Pyg. I cannot work to-day. 

My hand's uncertain — I must rest awhile. 

Cyn. Then rest and gaze upon thy masterpiece, 
'Twill reconcile thee to thyself — Behold ! 

(Draics curtain and discovers statue of Galatea. ■^^'■ 

Py'G. Yes — for in gazing on my handiwork, 

I gaze on heaven's handiwork— thyself- — • 

Cyn. And yet, although it be thy masterpiece. 
It has the fault thy patrons find with all 
Thy many statues. 

Pyg. What then do they say? 

Cyn. They say Pygmalion's statues have one head — 
That head, Cynisca's. 

Pyg. So, then, it's a fault (rises) 

To reproduce an hundred thousand fold, 
For the advantage of mankind at large, \Jiand.) 
The happiness the gods have given me! (Takes her 
Well, when I find a fairer head than thine 
I'll give my patrons some variety. 

* Note. — These curtains must be pushed aside by hand — not 
drawn apart by arrangement of cord and pulleys. 



b PYGMALION AXD GALATEA. 

Cyn. {Jiastily.) I would not have thee find another head 
That seemed as fair to thee for all the world! 
We'll have no stranger models if you please, 
I'll be your model, sir, as heretofore, 
So reproduce me at your will; and yet 
It were sheer vanity in me to think 
That this fair stone recalls Cynisca's face. 

Pyg. Cynisca's face in every line! 

Cyn. No, no! \iip l.) 

Those outlines softened, angles smoothed away 
The eyebrows arched, the head more truly poised. 
The forehead ten years smoother than mine own. 
Tell rather of Cynisca as she was 
When, in the silent groves of Artemis, 
Pygmalion told his love ten years ago; 
And then the placid brow, the sweet, sad lips. 
The gentle head down-bent resignedly. 
Proclaim that this is not Pygmalion's wife, [tween! 
Who laughs and frowns, but knows no meed be- 
I am no longer as that statue is (doum l.) (Closes 

[curtains.) 

Pyg. Why here's ingratitude, to slander Time, 

Who in his hurried course has passed thee by ! 
Or is it that Cynisca won't allow 
That Time could pass her by, and never pause 
To print a kiss upon so fair a face ? 

Enter Myrine, e. u. e., running. 

Myk. (doion E. c.) Pygmalion I have news. 

Pyg. (c.) — My sister, speak. 

Myk. {bashfully.) Send Mimos hence. [quite alone. 

Pyg. (signs to Mimos, toho exits l. cmd d.) Now we are 

Myr. Leucippe — 

Cyn. (l. c.) Well! 

Myr. (to Pyg.) — He was thy schoolfellow, 

And thou and he are brothers save in blood; 

He loves my brother as a brother. 
Pyg. Yes, 

I'm sure of that; but is that all thy news? 

There's more to come! 
Myr. (bashfully.) He loves thy sister too. 



PYGMALIOX AXD GALATEA. 7 

Pyg. Why this is news, Mjrine — kiss me girl. 

(ITisses her a7id puts her to c.) 

I'm more than happy at thy happiness, 

There is no better fellow in the world. 
Cyx. But tell us all about it clear. How came 

The awkward, bashful, burly warrior, 

To nerve himself to this confession? 

Leucippe appears at door u. e. k. 

Mye. Why- 

He's here — (goes to him and brings him dovm) — 
and he shall tell thee how it was. 

Leuc. {ciu'l'wardly .) In truth I hardly know, I'm new at it; 
I'm but a soldier. Could I fight my way 
Into a maiden's heart, why well and good; 
I'd get there somehow. But to talk and sigh, 
And whisper pretty things, I can't do that; 
I tried it, but I stammered, blushed and failed. 
Myrine laughed at me — but bless her heart, 
She knew my meaning and she pulled me through! 

Mye. I don't know how, Pygmalion, but I did. 

He stammered, as he tells you, and I laughed; 

iVnd then I felt so sorry, when I saw 

The great, big, brave Leucippe look so like 

A beaten schoolboy — that I think I cried. [Pause.) 

And then — I quite forgot what happened next. 

Till, by some means, we, who had always been 

So cold and formal, distant and polite, 

Found ourselves 

Leuc. Each upon the other's neck! 

You are not angry? {offering his hand.) 

Pyg. {tciJcing it.) Angry? overjoyed! 

I wish I had been there, unseen, to see; 
No sight could give me greater happiness! 

Leuc. What! say you so? Why then, Myrine, girl, 

We'll reproduce it for his benefit. \They emhrace.) 
See here, Pygmalion, here's a group for thee! 
Come, fetch thy clay, and set to work on it, 
I'll promise thee thy models will not tire. 

Cyn. How now, Leucippe, where's the schoolboy blush. 
That used to coat thy face at sight of her?" 



8 TYGMALIOM AND GALATEA. 

Leuc. The coating- was but thin, we've rubbed it off! 

(Kisses Myrine and takes her to seat l.) 

Pyg. Take care of him, Myrine; thou hast not 
The safeguard that protects her. 

(Indicating Cynisca, loho crosses r. c.) 

Myr. (sits L.) — What is that? 

Cy^n. (seated r.) It's a strange story. Many years ago 
1 was a holy nymph of Artemis, 
Pledged to eternal maidenhood. 

Leuc. Indeed! 

Myr. How terrible! 

Ci"X. It seems not so to me; 

For weeks and weeks I pondered stedfastly 
Upon the nature of that serious step 
Before I took it — lay awake at night, 
Looking upon it from this point and that. 
And I at length determined that the vow, 
Which to Myrine seems so terrible. 
Was one that I, at all events could keep. 

(Leucippe 'whisjjers Myrixe.) 

Myr. How old was thou, Cynisca? 

Ctist. I was ten. 

Well — in due course, I reached eleven, still 

I saw no reason to regret the step; [changed; 

Twelve — thirteen — fourteen saw me still un- 

At fifteen, it occurred to me one day 

That marriage was a necessary ill. 

Inflicted by the gods to punish us, 

And to evade it were impiety; 

At sixteen the idea became more fixed; 

At seventeen I was convinced of it. 

Pyg. In the meantime she'd seen Pygmalion. 

(Pyg. is ivp l. loorJdng on unfinished statue.) 

My^r. And you confided all you doubts to him? 

Cy^x. I did, and he endorsed them — so we laid 
The case before my mistress Artemis; 
No need to tell the arguments we used, 
Suffice it that they brought about our end. 
And Artemis, her icy steadfastness 
Thawed by the ardor of Cynisca's prayers, 
Replied, " Go girl, and wed Pygmalion; 



PYGMALION AND GALATEA. 9 

*'But mark mj words — (mes and crosses c.) — 

whichever one of you, 
" Or he or she, shall falsify the vow 
" Of perfect conjugal fidelity — 
"The wronged one, he or she, shall have the power 
" To call down blindness on the backslider, 
" And sightless shall the truant mate remain 
" Until expressly pardoned by the other." 
Leuc. It's fortunate such powers as your's are not 
In universal use; for if they were. 
One half the husbands and one half the wives 
Would be as blind as night; the other half, 
Having their eyes, would use them — on each other! 

MiMOS enters^ u. e. l., and gives Pygmalion a scroll^ 
lohich he reads at hack. Exit Mimos u. e. l. 

Mye. But then, the power of calling down this doom 

Remains with thee. Thou wouldst not burden him 
With such a curse as utter sightlessness. 
However grieviously he might offend. 

Cyn. {earnestly). I love Pygmalion for his faithfulness ; 
The act that robs him of that quality 
Will rob him of the love that springs from it. 

Mye. But sightlessness — it is so terrible! 

Cyn. And faithfulness — it is so terrible! 
I take my temper from Pygmalion; 
While he is god-like — he's a god to me. 
And should he turn to devil, I'll turn with him, 
I know no half moods, I am love or hate! 

Mye. {to Leuc.) — What do you say to that? 

Leuc. Why, on the whole I'm glad yoiCre not a nymph of 
Artemis! 

[^Exeunt^ Myeine aiid Leucippe, i. e. l. 

Pyg. I've brought him to his senses. Presently 
My patron Chrysos will be here to earn 
Some thousand drachmas. {Doion e.) 

Cyn. (l. c.) How, my love, to earn? 

He is a man of unexampled wealth. 
And follows no profession. 

Pyg. Yes, he does; 



10 PYGMALIOX AXD GALATEA. 

He is a patron of the Arts, and makes 
A handsome income by his patronage. 

Cyn. How so? 

Pyg. He is an ignorant buffoon! 

But purses hold a higher rank than brains, 
And he is rich; wherever Chrysos buys. 
The world of smaller fools comes following, 
And men are glad to sell their work to him 
At half its proper price, that they my say, 
" Chrysos has purchased handiwork of ours." 
He is a fashion, and he knows it well ^ 
In buying sculpture ^ he appraises it , 
As he'd appraise a master-mason's work, '- 
So much for marble, and so much for time. 
So much for working tools — but still he buys, 
And so he is a patron of the Arts! 

Cyn. To think that heaven-born Art should be the slave 
Of such as he. 

Pyg. Well, wealth is heaven-born too, 

I work for wealth. 

Cyn. Thou workest, love, for fame. 

Pyg. And fame brings wealth. The thought's con- 
temptible, [her. 
But I can do more than work for wealth. [Tirrns/rom 

Cyn. Such words from one whose noble work it is 
To call the senseless marble into life! 

Pyg. Life! Dost thou call that life? 

Cyn. It all but breathes! (.SV^.vl.) 

Pyg. (up E., bitterly.) It all but breathes — therefore it 
talk-s aloud! 
It all but moves — therefore it walks and runs! 
It all but lives, and therefore it is life! 
No, no, my love, the thing is cold, dull stone, 
Shaped to a certain form, but still dull stone, 

( Up R. c, looldng at Statue.) 
The lifeless, senseless mockery of life. 
The gods make life, I can make only death! 
Why, my Cynisca, though I stand so well. 
The merest cut- throat, when he plies his trade, 
Makes better death than I with all my skill! 

Cyn. Hush, my Pygmalion! the gods are good. 



PYGMALIOX AXD GALATEA. 11 

And tliey liave made tliee nearer unto them 
Than other men; this is ingratitude! 

Ptg. {haughtily.) Not so; has not a monarch's second son 
More cause for anger that he lacks a throne 
Than he whose lot is cast in slavery? [excuse. 

Cyn. (rises.) Not much more cause, perhaps, but more 
Now I must go. 

Pyg. So soon, and for so long. 

Cyn". One day, 'twill quickly pass away! [doubt, 

Pyg. With those who measure time by almanacks, no 
But not with him who knows no days save those 
Born of the sunlight of Cynisca's eyes; 
It will be nior-ht with me till she returns. 

Cyn. Then sleep it through, Pygmalion! But stay. 
Thou shalt not pass the weary hours alone; 
Now mark thou this — ^while Pm away from thee. 
There stands my only representative, 
(rncUcating Galatea, and withdrauring curtains^ 
She is my proxy, and I charge you, sir. 
Be faithful unto her as unto me! 
Into her quietly attentive ear 
Pour all thy treasures of hyperbole, 
And give thy nimble tongue full license, lest 
Disuse should rust its glib machinery; Uidvancing 
If thoughts of love should haply crowd on thee, 
There stands my other self, tell them to her. 
She'll listen well; {Jie maJces a inorement of i??i- 
Nay, that's ungenerous, [j)atit)ice.) 
For she is I, yet lovelier than I, 
And hath no temper, sir, and hath no tongue; 
Thou hast thy license — make good use of it. 

(Crosses e.) 
Already I'm half jealous — there! 

(draws curtain together concecding statue.) 
It's gone. 
The thing is but a statue after all. 
And I am safe in leaving thee with her; 
Farwell, Pygmalion, till I return. 

(Kisses him., and exit u. e. e.) 

Pyg. {Utterly.) " The thing is but a statue after all! *' 
Cynisca little thought that in those words 



12 PYGMALION AND GALATEA. 

She touched the key-note of my discontent — 
True, I have powers denied other men; 
Give me a block of senseless marble — Well, 
I'm a magician, and it rests with me 
To say what kernal lies within its shell; 
It shall contain a man, a woman, a child, 
A dozen men and women if I will. 
So far the gods and I run neck and neck, 
Nay, so far I can beat them at their trade; 
/ am no bungler — all the men / make 
Are straight limbed fellows, each magnificent 
I In the perfection of his manly grace; 
I make no crook-ljacks — all my men are gods. 
My women, goddesses, in outward form. 
But there's my tether — I can go so far, 
And go no farther — at that point I stop. 
To curse the bonds that hold me sternly back. 
To curse the arrogance of those proud gods, 
Who say, " Thou shalt be greatest among men, 
" And yet infinitesimally small !" 

G A1.ATE A (from behuid a frtam c.) Pygmalion! 

Pyg. {ftfUr a pause .) Who called? 

Gal. Pygmalion ! 

[Pyg. tears aicciy curtain and d fscove?'s Galatba alive. 

Py'G. Ye gods! It lives! 

Gal. Pygmalion! 

Pyg. It speaks! 

I have my prayer! my Galatea breathes! 
Gal. Where am I? Let me speak, Pygmalion; [warm! 

Give me thy hand — both hands — how soft and 

Whence came I? {^Descends.) 
Pyg. Why, from yonder pedestal. 

Gal. That pedestal! Ah, yes, I recollect. 

There was a time when it was part of me. 
Pyg. That time has passed forever, thou art now 

A living, breathing v/oman, excellent 

In every attribute of womankind. 
Gal. Where am I, then? 
Pyg. Why born into the world 

By miracle. 



PYGMALION AND GALATEA. 13 

Gal. Is this the world? ' 

Pyg. It is. 

Gal. This room? ' 

Pyg. This room is portion of a house; | 

The house stands in a grove, the grove itself I 
Is one of many, manjjbhousand groves 
In Athens. 

Gal. And is Athens then the world? 

Pyg. To an Athenian — Yes — ■ 

Gal. And I am one? 

Pyg. By birth and parentage, not by descent. 

Gal. But how came I to be? 

Pyg. Well — let me see. 

Oh — you were quarried in Pentelicus; 
I modelled you in clay — my artisans 
Then roughed you out in maj;;ble — I, in turn, 
Brought my artistic skill to bear on you. 
And made you what you are — in all but life — 
The gods completed what I had begun, 
And gave the only gift I could not give. 

Gal. Then is this life ? 

Pyg. It is. 

Gal. And not long since 

I was a cold, dull stone. I recollect 
That by some means I knew that I was stone, 
That was the first dull gleam of conscience; 
I became conscious of a chilly self, 
A cold immoveable identity, 
I knew that I was stone, and knew no more; 
Then, by an imperceptible advance, 
Came the dim evidence of outer things, 
Seen — darkly and imperfectly — yet seen — 
The walls surrounded me, and I, alone. 
That pedestal — that curtain — then a voice 
That called on Galatea! At that word, 
Which seemed to shake my marble to the core, 
That which was dim before, came evident. 
Sounds, that had hummed around me, indistinct, 
Vague, meaningless — seemed to resolve themselves 
Into a language I could understand; 
I felt my frame pervaded with a glow 



14 PYGMALIOX AND GALATEA. 

That seemed to thaw my marble into flesh; 

Its cold hard substance throbbed with active life, 

My limbs grew supple, and I moved — I livedj 

Lived in the ecstacy of new born life; 

Lived in the love of him that fashioned me; 

Lived in a thousand tangled thoughts of hope, 

Love, gratitude, thoughts that resolved themselves 

Into one word, that word, Pygmalion ! (iLueels to 
Pyg. I have no wQrds to tell thee of my joy, [/nm.) 

O woman — perfect in thy loveliness. 
Gal. What is that word? Am I a woman? 
Pyg. Yes. 

Gal. Art thou a woman? 
Pyg. No, I am a man. 

Gal. What is a man? 
PvG. A being strongly framed, 

To wait on woman, and protect her from 

All ills that strength and courage can avert; 

To work and toil for her, that she may rest; 

To weep and mourn for her, that she may laugh; 

To fight and die for her, that she might live! 
Gal. (after a pause.) I'm glad I am a woman. 

(Takes his hand — he leads her doion l.) 
Pyg. So am I. (They sit.) 

Gal. That I escape the pains thou hast to bear? 
Pyg. That I may undergo those pains for thee. 
Gal. With whom then would'st thou fight? 
Pyg. With any man 

Whose word or deed gave Galatea pain. 
Gal. Then there are other men in this strange world? 
Pyg. There are indeed. 
Gal. And other women? 

Pyg. {tahen ahacJc.) Yes; 

Though for the moment I'd forgotten it; 

Yes, other women. 
Gal. And for all of these 

Men work, and toil, and mourn, and weep and fight? 
Pyg. It is man's duty, if he's called upon, 

To fight for all — he works for those he loves. 
Gal. Then by thy works I know thou lovest me. 
Pyg. Indeed, I love thee! (Embraces her,) 



PYGMALION AND GALATEA. 15 

Gal. With what kind of love? 

Pyg. I love thee [vecoUectiny himself and releasmg her) 
as a sculptor does his work! 
(aside) There is a diplomacy in that reply. 

Gal. My love is different in kind to thine; 

I am no sculptor, and I've done no work, 
Yet I do love thee; say- — v/hat love is mine? 

Pyg. Tell me its symptoms — then I'll answer thee. 

Gal. Its symptoms? Let me call them as they come. 
A sense that I am made bi/ thee for thee, 
That I have no will that is not wholly thine, 
That I've no thought, no hope, no enterprise, 
That does not own thee as its sovereign ; 
That I have life, that I may live for thee. 
That I am thine — that thou and I are one! 
What kind of love is that? 

Pyg. a kind of love 

That I shall run some risk in dealing with. 

Gal. And why, Pygmalion? 

Pyg. Such love as thine 

A man may not receive, except indeed 
From one who is, or is to be, his wife. 

Gal. Then T will be thy wife. 

Pyg. That may not be; 

I have a wife — the gods allov,^ but one. 

Gal. Why did the gods then send me here to thee? 

Pyg. I cannot say— unless to punish me (rises) 
• For unreflecting and presumptuous prayer! 

I prayed that thou should'st live. I have my prayer, 
And now I see the fearful consequence 
That must attend it! 

GxVL. Yet thou lovest me? (Illses.) 

Pyg. Who could look on that face and stifle love? 

Gal. Then I am beautiful? 

Pyg. Indeed thou art. 

Gal. I wish that I could look upon myself, 
But that's impossible. 

Pyg. Not so indeed, (crosses e.) 

This mirror will reflect thy face. Behold! 

(Hands her a ynirror from table n. c.) 



16 PYGMALIOX AND GALATEA. 

Gal. How beautiful! I am very glad to know 
That both our tastes agree so perfectly; 
Why, my Pygmalion, I did not think 
That aught could be more beautiful than thou. 
Till I behold myself (« pause.) Believe me, love, 
I could look in this mirror all day long. 
So I'm a woman. 

Pva. There's no doubt of that! 

Gal. Oh happy maid to be so passing fair! 

And happier still Pygmalion, who can gaze. 

At will, upon so beautiful a face. [fro7n Jter) 

Pyg. Hush! Galatea — in thine innocence {taking glass 
Thou sayest things that others would reprove. 

Gal. Indeed, Pygmalion; then it is wrong 
To think that one is exquisitely fair'? 

Pyg. Well, Galatea, it's a sentiment 

That every woman shares with thee; 

They think tt — but they keep it to themselves. 

Gal. And is thy wife as beautiful as I? 

Pyg. No, Galatea, for in forming thee 

I took her features — lovely in themselves — 
And in the marble made them lovelier still. 

Gal. {Disappointed^ Oh! then I'm not original? 

Pyg. Well— no— 

That is — thou hast indeed a prototype. 
But though in stone thou did'st resemble her, 
In life, the difference is manifest. 

Gal. I'm very glad that I am lovelier than she. * 

And am I better? {^its l.) 

Pyg. That I do not know. 

Gal. Then she has faults. 

Pyg. Very few indeed; 

Mere trivial blemishes, that serve to show 

That she and I are of one common kin. 

I love her all the better for such faults, [them now. 

Gal. {after a pause.) Tell me some faults and I'll commit 

Pyg. There is no hurry ; they will come in time ; {sits beside 
Though for that matter, it's agrevioussin [AerL.) 
To sit as lovingly as we sit now. 

Gal. Is sin so pleasant? If to sit and talk 
As we are sitting, be indeed a sin, 



PYGMALIOX AXD GALATEA. 17 

AThy I could sin all dav. But tell me, lov^, 

Is this great fault that I'm committino- now 

The kind of fault that only serves to show 

That thou and I are of one common kin? 
Pyg. Indeed, I'm very much afraid it is. 
Gal. And dost thou love me better for such fault? 
Pyg. Where is the mortal that could answer "no?" 
Gal. AVhy then I'm satisfied, Pygmalion; 

Thy wife and I can start on equal terms. 

She loves thee? 
Pyg. A'erv mucli. 

Gal. ' I'm glad nf that. 

I like thy wife. ' 

Pyg. ^ And why? 

Gal. (surprlstd at tJiC question.) Our tastes agree. i 

We love Pjgmalion well, and what is more, | 

Pygmalion loves us both. I like thy wife; j 

I'm sure we shall agree. 
Pyg. (aside.) I doubt it much. | 

Gal. Is she within? 

Pyg. No, she is not within. 

Gal. But she'll come back? 

Pyg. Oh, yes, she will come back. 

Gal. How pleased she'll be to know when she returns, 

That there was some one here to fill her place. [(7Hses) 
Pyg. (drill/.) Yes, I should say she'd be extremely pleased. 
Gal. Why, there is something in thy voice which says 

That thou art jesting. Is it possible 

To say one thing and mean another? 
Pyg. Yes, 

It's sometimes don^. 
Gal. How very wonderful; 

So clever! 
Pyg. iVnd so very useful. 

Gal. Yes. 

Teach me the art. 
Py'g. The art will come in time. 

My wife will not be pleased ; there — that's the truth. 
Gal. I do not think that I s/iaU like thy wife. 

Tell me more of her. 
Pyg. Well— 



18 PYGMALION AND GALATEA. 

Gal. What did she say 

When last she left thee? 
Pyg. Humph! Well, let me see; 

Oh! true, she gave thee to me as my wife, — 

Her solitary representative; 

{tenderly) She feared I should be lonely till she came. 

And counselled me, if thoughts of love should come, 

To speak those thoughts to thee, as I am wont 

To speak to her. 
Gal. That's right. 

Pyg. {releasing her.) But when she spoke 

Thou wast a stone, now thou art flesh and blood, 

Which makes a diflPerence. 
Gal. It's a strange world; 

A woman loves her husband very much. 

And cannot brook that I should love him too; 

She fears he will be lonely till she comes. 

And will not let me cheer his loneliness; 

She bids him breathe his love to senseless stone, 

And when that stone is brought to life- — be dumb! 

It's a strange world, I cannot fathom it. {Crosses ii.) 
Pyg. {aside.) Let me be brave and put an end to this. 

{aloud.) Come Galatea—till my wife returns, 

My sister shall provide thee with a home; 

Her house is close at hand. 
Gal. {astonished and alarmed.) Send me not hence, 

Pygmalion — let me stay. 
Pyg. It may not be. 

Come, Galatea, #e shall meet again. 
Gal. {Resignedly) Do with me as thou wilt, Pygmalion ! 

But we shall meet again ? — and very soon ? 
Pyg. Yes, very soon. 
Gal. And when thy wife returns. 

She'll let me stay with thee? 
Pyg. I do not know, [alas! 

{aside) Why should I hide the truth from her {aloud) 

I may not see thee tlien. 
Gal. Pygmalion ! 

What fearful words are these? 
Pyg. The bitter truth. 

^ I may not love thee — I must send thee hence. 



PYGMALIOX AND GALATEA. 19 

Gal. Recall those words, Pygmalion, my love! 
Was it for this that heaven gave me life? 
Pygmalion, have mercy on me; see 
I am thy work, thou hast created me; 
The gods have sent me to thee. I am thine, 
Thine! only, and unalterably thine! (irncsk') 
This is the thought with which my soul is charged. 
Thou tellest me of one who claims thy love, 
That thou hast love for her alone. Alas! 
I do not know these things — ^I only know 
That heaven has sent me here to be with thee, 
Thou tellest me of duty to thy wife. 
Of vows that thou will love but her; Alas! 
I do not know these things — I only know 
That heaven, who sent me here, has given me 
One all absorbing duty to discharge — 
To love thee, and to make thee love again. 

[Dicrmg this speerli Pygmalion has shown symptoms of 
irresolution; at its conclusio)i he takes Iter in his arm,s^ 
and embraces Jier passionately?)^ 

ACT DROP. 
\_Iling v'Jien Pygmalion hisses Galatea.] 



ACT II. 

SCENE: Same as Act I. 



YSee that curtains that concealed the statue are closed.'] 
[Pygmalion discovered at icorJc on an unfinislied statue l.] 



Pyg. To-morrow my Cynisca comes to me; 

Would that she had never departed hence! 
It took a miracle to make me false, 
And even then I was but false in thought; 
A less exacting wife might be appeased 
By that reflection. But Pygmalion 



20 PYGMALION AND GALATEA. 

Must be immaculate in every thought, 
Even though Heaven's armaments be ranged 
Against the fortress of his constancy. 

Enter Myeine, l". e. e., in great excitement. 

Myr. Pygmalion! 

Pyg. Myrinel 

Myr. {shrinking fro7n J dm.) Touch me not, 

Thou hast deceived me, and deceived thy wife! 

Who is the woman thou didst send to me 

To share my roof last night? 
Py^g. Be pacified; 

Judge neither of us hastily, in truth 

She is as pure, as innocent as thou. 
Myr. Oh, miserable man — confess the truth. 

Disguise not that of which she boasts aloud. 
Py^g. Of what then does she boast? 
Myr. To all I say 

She answers with one parrot-like reply, 

" I love Pygmalion " — and when incensed 
' I I tell her that thou hast a cheated wife, 

She only says "I love Pygmalion, 

"I and my life are, his, and his alone! " 

Who is this shameless woman, sir? Confess! 
Pyg. Myrine, I will tell thee all. The gods 

To punish my expressed impiety, 

Have worked a miracle, and brought to life 

My statue Galatea. 
Myr. {incrediioiisly) Marvellous, 

If it be true! 
Pyg. It's absolutely true. 

(Myrine ojyens the curtains and sees the 2^edestal empty ^ 
Myr. The statue's gone ! (Galatea appears at door k. u. e.] 
Pyg. The statue's at the door! 

Gal. {coming down and embracing hi7ii) — 

At last we meet! Oh! my Pygmalion! 
• What strange, strange things have happened since 

we met. 
Pyg. Why, what has happened to thee? 
Gal. Fearful things! 

(to My'r.) I went with thee into thine house— 



PYGMALIOX AXD (iALATEA. 21 

Mye. Well, well. 

Gal. And then I sat alone and wept — and wept 
A long-, long" time for my Pygmalion. 
Then by degrees — by tedious degrees, 
The light — the glorious light I — the godsent light! 
I saw it sink — sink — sink — behind the worhl; 
Then I grew cold — cold — as I used to be, 
Before my loved Pygmalion gave me life. • 

Then came the fearful thouglit that, by degrees, 
I was returning into stone au-aiii! 
How bitterly 1 wept and prayed aloud 
That it might not be so! " Spare me, ye gods! 
" Spare me, " I cried, " for my Pygmalion, 
"A little longer for Pygmalion! 
"Oh, take me not so early from my love; 
'• Oh, let me see him once— but once again!" 
. But no— they heard me not, for they are good, 
And had they heard, must needs have pitied me; 
They had not seen t/)ee and they did not know 
The happiness that I must leave behind. 
I fell upon thy couch (to Myrixe), my eyelids closed, 
My senses faded from me one by one; 
I knew no more until I found myself. 
After a strange dark interval of time. 
Once more upon my hated pedestal, 
A statue — -motionless — insensible ; 
And then I saw the glorious gods come down! 
Down to this room! the air was filled with them! 
They came and looked upon Pygmalion, 
And looking on him, kissed him one by one. 
And said, in tones that spoke to me of life, 
" ^Ye cannot take her from such happiness! 
" Live Galatea for his love! " And then 
The glorious light that I had lost came back — 
There was Myrine's room, there was her couch, 
/■ There was the sun in lieaven; and the birds 
Sang once more in the great green waving trees. 
As I had lieard them sing — I lived once more 
To look on him 1 love! 

Myr. ^ 'Twas but a dream! {coming down Pw.) 

Once every day this death occurs to us, 



22 PYGMALION AND GALATEA. 

Till thou and I and all who dwell on earth, 

Shall sleep to wake no more ! 
Gal. (Jtorrified^ takes Myrine's hand.) To wake no more! 
Pyg. That time must come, may be not yet awhile, 

Still it must come, and we shall all return 

To the cold earth from which we quarried thee, 
Gal. See how tho promises of new-born life 

• Fade from the bright hope-picture, one by one! 

Love for Pygmalion^ — a blighting sin, * 

His love a shame that he must hide away. 

Sleep, stone-liko senseless sleep, our natural state. 

And life a passing vision born thereof. 

From which we wake to native senselessness! 

How the bright promises fade one by one! 
Myr. Why there are many men who thou mayest love; 

But not Pygmalion — he has a wife. 
Gal. Does no one love him? 
MyPw. Certainly — Zdo. 

He is my brother. 
Gal. Did he give thee life? 

Myr. Why, no, but then — 
Gal. He did not give thee life, 

-And yet thou lovest him! And why not I ? 

Who owe my very being to his love. 
Pyg. Well, thou mayest love me — as a father. 
Myr. Yes; 

He is thy father, for he gave thee life. 
Gal. Well, as thou wilt, it is enough to know 

That I may love thee. Wilt thou love me too? 
Pyg. Yes, as a daughter; there, that's understood. 
Gal. Then I am satisfied [kissing his hand.) 
Myr. (aside.) Indeed I hope 

Cynisca also will be satisfied! 

£JxU R. I. E. Pyg. crosses r. 
Gal. [To P vg., toho crosses r.) Thou art not going from me? 
Pyg. For awhile. 

Gal. Oh, take me with thee; leave me not alone 

With these cold emblems of my former self. 

[al hiding to statues.) 

I dare not look on them! 
Pyg. . Leucippe conies, 



PYGMALION AND GALATEA. 23 

And he shall comfort thee till I return; . 

I'll not be long! 
Gal. Leiicippel Who is he? 

PvG. A valiant soldier. 
Gal. What is that? 

Pyg, a man, 

Who's hired to kill his country's enemies. 
Gal. {Jwrrified) A paid assassin! 
Pyg. (amazed.) Well, that's rather strong. 

There spoke the thoroughly untutored mind; 

So coarse a sentiment might fairly pass 

With mere Arcadians — a cultured state 

Holds soldiers at a higher estimate. 

In Athens — which is highly civilized — 

The soldier's social rank is in itself 

Almost a patent of nobility. 
Gal. He kills! And he is paid to kill! 
Pyg, No doubt. 

But then he kills to save his countrymen. 
Gal. Whether his countrymen be right or wrong? 
Pyg. He don't go into that — it's quite enough 

That there are enemies for him to kill; 

He goes and kills them when his orders come. 
Gal. How terrible! Why, my Pygmalion, 

How many dreadful things thou teachest me; 

Thou tellest me of death — that hideous doom 

That all must fill; and having told me this — 

Here is a man, whose business is to kill; 

To filch from other men the priceless boon 

That thou hast given me — the boon of life. 

And thou defendest him. 
Py^g. I have no time 

To make these matters clear — but here he comes, 

Talk to him — thou wilt find him kind and good, 

Despite his terrible profession. 
Gal. {in great terror) No! 

I'll not be left with him, Pygmalion. Stay! 

He is a murderer! 
Pyg. Ridiculous I 

Why, Galatea, he will harm thee not, 



24: rYCniALIOX AND GALATEA. 

He is as good as brave. I'll not be long, 
I'll soon return. Farewell! [^Exit u. e. k. 

Gal. I will obey 

Since thou desirest it; but to be left 
Alone with one whose mission is to kill! 
Oh, it is terrible! 

Enter Leucippe r. u. e., irifh a Fauni'^ that he ha^ .^Jiot. 

Leuc. a splendid siiot. 

And one that I shall never make again! [''*^^'' 

Gal. Monster! Approach me not! {^Shririk'tiuj irtfo\..cor- 
Leuc. Why, who is this? 

Nay, I'll not hurt thee, maiden! 
Gal. Spare me, sir! 

I have not done thy country any wrong, 

I am no enemy! 
Leuc. I'll swear to that! 

Were Athens' enemies as fair as thou. 

She'd never be at loss for warriors. 
Gal. Oh miserable man, repent! repent! 

Ere the stern niarble claim you once again. 
Leuc. I don't quite understand — 
Gal. Remember, sir, 

The sculptor who designed you, little thought 

That when he prayed the gods to give you life, 

He turned a monster loose upon the world. 

See, there is blood upon those cruel hands'- 

Oh touch me not. 
Leuc. [aside.) Poor crazy little girl! [not — 

Why — there's no cause for fear — I'll harm thee 

As for the blood, this will account for it {s/iovma/ 
Gal. What's that? [Fawn) 

Leuc. A little Fawn. 

Gal. It does not move! 

Leuc. No, for i wounded her. 
Gal. Oh, horrible! 

* Note. — This Fawn must be perfectly limp and death-like, and 
at the same time a ]n"etty and interesting object, or tlie scene 
which follows ^Yill excite ridicule. The Fawn used at the Hay- 
market Theatre was supplied by Mr. H. Ward, Naturalist, 3, 
Vere Street, Oxford Street, 



PYGMALION AND GALATEA. 25 

Leuc. Poor little thing! 'Twas almost accident; 

I lay upon my back beneath a tree, 

Whistling the lazy hours away — when lo! 

I saw her bounding through a distant glade; 

My bow was handy; in sheer wantonness 

I aimed an arrow at her, and let fly. 

Believing that at near a hundred yards 

So small a being w^ould be safe enough, 

But, strange to tell, I hit her. Here she is; 

She moves — poor little lady! Ah, she's dead! 
Gal. Oh, horrible! oh, miserable man! [arms) — 

What have you done — (Takes Favm into her 
Why you have murdered her! 

Poor little thing! I know not what thou art; 

Thy form is strange to me; but thou hadst life 

And he has robbed thee of it! 

(Strokes Favm u'ith her handhercliief and gives it 

\hack to Leuc.) 
(Sxddenh/.) Get you hence! 

Ere vengeance overtake you! 
Leuc. Well, in truth, 

I have some apprehension on that score. 

It was Myrine's — though I knew it not. 

'Twould pain her much to know that it is dead; 

So keep the matter carefully from her [Jiind.^^ 

Until I can replace it. \_ExU Leucippe, e. u. e., loith 
Gal. Get you hence; 

I have no compact with a murderer! 

Enter Myeine, e. i. e. 

Mye. Why, Galatea, what has frightened thee? 

Gal. Myrine, I have that to say to thee 

That thou must nerve thyself to hear. That man — 
That man thou lovest — is a murderer! 

Mye. Poor little maid! Pygmalion, ere he left, 

Told me that by that name thou didst describe 
The bravest soldier that our country owns! 
He's no assassin, he's a warrior. 

Gal. Then what is an assassin? 

Mye. One who wars 

Only with weak, defenceless creatures. One 



26 PYGMALION AND GALATEA. 

Whose calling' is to murder unawares. 
My brave Leucippe is no murderer. 

Gal. Thy brave Leucippe is no longer brave, 
He is a mere assassin by thy showing. 
I saw him with his victim in his arms, 
His wicked hands dyed crimson with her blood; 
There she lay, cold and stark, her gentle eyes 
Glazed with the film of death. She moved but once, 
She turned her head to him and tried to speak, 
But ere she could articulate a word. 
Her head fell helplessly, and she was dead! 

Myr. Why, you are raving, girl. Who told you this? 

Gal. He owned it; and he gloried in the deed. 
He told me how, in arrant wantonness. 
He drew his bow, and smote her to the heart. 

Myr. Leucippe did all this! Impossible! 
You must be dreaming! 

Gal. On my life it's true. 

See here's a handkerchief which still stained 
With her blood— I staunched it with my hand. 

Myr. Who was his victim? 

Gal. N^y — I cannot tell. 

Her form was strange to me — but here he comes; 
Oh! hide me from that wicked murderer! (Crosses l.) 

EnteT Leucippe, u. e. k. 

Myr. Leucippe can this dreadful tale be true? 

Leuc. {to Gal. aside.) Thou should have kept my secret. 
See, poor girl. 
How it distresses her. [To Myr.) It's true enough. 
But Galatea should have kept it close, 
I knew that it would pain thee greviously; 

Myr. Some devil must have turned Leucippe's brain; 
You did all this? 

Lexjo. Undoubtedly I did. 

I saw my victim dancing happily 
Across my field of view — I took my bow, 
And, at the distance of a hundred yards, 
I sent an arrow right into her heart. 
There are few soldiers who could do as much. 



PYG^rALTOX AXD GALATEA. 27 

Myk. Indeed I hope that there are very few. 

Oh, miserable man! 
Leuc. That's rather hard. 

Congratulate me rather on my aim, 

Oi" which I have some reason now to boast; 

As for m.y victim — why, one more or less, 

What does it matter? There are plenty left! 

And then reflect. Indeed, I never thought 

That I should hit her at so long a range; 

My aim was truer than I thought it was. 

And the poor little lady's dead! 
Mye. Alas! 

This is the calmness of insanity. 

What shall we do? Go, hide yourself away. 

Leuc. But 

MyPv. Not a word, I will not hear thy voice, 

I will not look upon thy face again; 

Begone! (sits at table ^ p., and sobs.) 
Gal. Go, sir, or I'll alarm the house! 

Leuc. Well, this is sensibility, indeed! 

AVell, they are women — women judge these things 

By some disjointed logic of their own. 

I'm off to x\.thens — when your reason comes 

Send for me, if you will. Till then, farewell. 

[^xit u. E. K., angrily, 

Myr. Oh, this must be a dream, and I shall wake 

To happiness once more! 
Gal. (jumping at the idea) A dream! no doubt! 

We both are dreaming, and we dream the same, 

But by what sign, Myrine, can we tell 

Whether we dream or wake? 
Mye. There are some things 

Too terrible for truth, and this is one. 

Enter Vyq^imaoih., e. e. u., vnth the hind. 

Pv(4. [dov-n c.) — Why, what's the matter with Leucippe, 
girl? 

I saw him leave the house, and mount his horse 

With every show of anger. 
Myr. a fearful thing has happened. He is vah 



28 PYGMALION AND GALATEA. 

And hath done a deed I dare not name. 

Did he say ought to thee before he left? 
Pyg. Yes; when I asked him what had angered him, 

He threw me this {showing hind.) 
Gal. {in extreme horror)—H\?> victim — take it hence. 

I cannot look at it. 
Myr. Why what is this? 

Gal. The being he destroyed in very wantonness; 

He robbed it of the life the gods had given. 

Oh! take it hence, I dare not look on death! 

(Pygivi ALIGN throios him on chair if.) 
Myr. Why was this all he killed? 

Gal. {astonished.) All!!! And enough! 

Mry. Why, girl — thou must be mad! Pygmalion — 

She told me he had murdered somebody, 

But knew not whom! 
Pyg. {in great agitation.) The girl will drive us mad! 

Bid them prepare my horse — I'll bring him back. 
[Exit Myrine, l. e. r., Tunmng. 
Gal. Plave I done wrong? Indeed I did not know; 

Thou art not angry with me? 
Pyg. Yes, I am; 

I'm more than angry with thee — not content 

With publishing thine unmasked love for me, 

Thou hast estranged Leucippe from his love 

Through thine unwarrantable foolishness. 

Enter Mimos, u. e. r. 

MiM. Sir, Chrysos and his lady are without. 

Pyg. I cannot see them now. Stay — show them in. 

{Exit MiMOS. 

{To Gal.) Go wait in there. I'll join thee very soon. 

\Exit Galatea, l. e. r. 

Enter Daphne u. e. r. 

(Pygmalion goes to statue^ l, andhegins to work on it.) 

Dapii. Where is Pygmalion? 

Pyg. Pygmalion's here. 

Daph. We called upon you many months ago, 



PYGMALIOX AND GALATEA. 29 

But you were not at home — so being here, 
We looked around us and we saw the stone, 
You keep so carefully behind that veil. 

Pyg. That was a most outrageous liberty. 

Daph. Sir! do you know me? 

Pyg. You are Chrysos' wife. 

Has Chrysos come with you? 

Daph. He waits without. 

I am his herald to prepare you for 
The honor he confers. Be civil, sir, 
And he may buy that statue; if he does 
Your fortune's made! 

Pyg. {To Mimos.) You'd better send him in. [^Exit Mim., e. 

Enter Chry^sos, u. e. k. 

Chky. [Doitm E. c.) Well^ — is the young man's mind pre- 
pared? 
Daph. It is; 

He seems quite calm. Give money for the stone, 

I've heard that it is far beyond all price, 

But run it down, abuse it ere you buy. 
Chky. {to Py^g.) Where is the statue that I saw last time ? 
Pyg. {at a loss.) Sir, it's unfinished — its a clumsy thing. 

I am ashamed of it. 
Chey". It isn't good. 

There's want of tone; it's much too hard and thin; 

Then the half distances are very crude — 

Oh — very crude indeed — then it lacks air, 

And wind and motion, massive light and shade; 

It's very roughly scumbled; on my soul 

The scumbling's damnable! 
Daph. (aside to him.) Bethink yourself! 

That's said of painting — this is sculpture! 
Chey. Eh? 

It's the same thing, the principle's the same. 

Now for its price. Let's see — what will it weigh? 
Daph. A ton, or thereabouts. 
Chey. Suppose we say 

A thousand drachmas? 
Py'G. No, no, no, my lord; 



30 rYG^JAJ.lOX AND GALATEA, 

The work is very crude and thin, and then, 

Remember, sir, the scumbling — 
Chky. Damnable I 

But never mind, although the thing is poor, 

'Twill serve to hold a candle in my hall. 
Pyg. Excuse me, sir; poor though that statue be, 

I value it beyond all price. 
Chey. Pooh, pooh! 

I give a thousand drachmas for a stone 

AVhich in the rough would not fetch half that sum! 
Daph. Why bless my soul, young man, are you aware 

We gave but fifteen hundred not long since 

For an Apollo twice as big as that! 
Pyg. But pardon me, a sculptor does not test 

The beauty of a figure by its bulk. 
Chry. Ah ! then she does. 
Daph. Young man, you'd best take care 

You are oflPending Chrysos! [Exit ii. u. l, 

CiiRY. And his wife, [go'hig) 

Pyg. I cannot stay to enter into that \(loor l. 

Sir, once for all, the statue's not for sale. \_ExU 2 
Chey. Sir, once for all, I will not be denied; 

Confound it — if a patron of the arts 

Is thus to be dictated to by art. 

What comes of that art patron's patronage? 

Oh, upstart vanity of human kind! 

Oh, pride of worms — oh, scholarship of fools! 

Oh, ponderosity of atoms! oh, 

Substantiality of nothingness! 

He must be taught a lesson — Where's the stone! 

(Goes to pedestal and opens curtains.) 

It's gone. (Ent<r Galatea, ii. i. i:., he steires at 
her in astonlsJtment.) Hallo! What's this? 
Gal. Are you unwell? 

Chey. Oh, no — I fancied just at first — pooh, pooh! 

Ridiculous, [aside) And yet it's very like! 

{aloud.) I know your face, have'nt I seen you in 

In— in { pu?:zlln(j /n'n/self.) 
Gal. In marble? ^ ery probably. [this must be 

Chey. [recovering himself.) Oh, now I understand. Why 



PYGMALIOX AXD GALATEA. 31 

Pygmalion's model! Yes, of course it is. 

A very bold faced woman, I'll be bound. 

These models always are. Her face, alas, 

Is very fair; her figure, too, is neat; 

But, notwithstanding, I will speak with her. 

Come hither, maiden. 
Gal. [W/iO Juis been examining Jiim in great iconder.) 

Tell me, what are you? 
Chey. What am I ? 

Gal. Yes, I mean, are you a man ? 

Chry. Well, yes; I'm told so. 
Gal. Then believe them not, 

They've been deceiving you. 
Chey. The deuce they have! 

Gal. a man is very tall, and straight, and strong, 

With big brave eyes, fair face, and tender voice. 

I've see one. 
Chey. Have jou? 

Gal. Yes, you are no man. 

Chey. Does the young person take me for a woman? 
Gal. a woman? Ko; a woman's soft and weak. 

And fair, and exquisitely beautiful. 

/ am a woman, you are not like me. 
Chey. The gods forbid that I should be like you, 

And farm my features at so much an hour! 
Gal. And yet I like you, for you make me laugh; 

You are so round and red, your eyes so small, 

Your mouth so large, your face so seared with lines^ 

And then you are so little and so fat! 
Chey. (aside.) This is a most extraordinary girl. 
Gal. Oh, stay — I understand — Pygmalion's skill 

Is the result of long experience. 

The individual who modelled you 

Was a beginner very probably? 
Chey. ( puzzled,) No. I have seven elder brothers. Strange 

That one so young should be so very bold. (Crosses l.) 
Gal. (^Surprised) — This is not boldness, it is innocence; 

Pygmalion says so, and he ought to know. 
Chey. No doubt, but I was not born yesterday. (fSits l.) 
Gal. Indeed! — JT was. (He heekons her to sit beside Jtini.) 
How awkwardly you sit. 



32 PYGMALIOX AND GALATEA. 

Chry. I'm not aware that there is anything 

Extraordinary in my sitting down. 

The nature of the seated attitude 

Does not leave scope for much variety. 
Gal. I never saw Pygmalion sit like that. 
CiiKY. Don't he sit down like other men ? 
Gal. Of course! 

He always puts his arm around my waist. 
Chry. The deuce he does! Artistic reprobate! 
Gal. But you do not. Perhaps you don't know how? 
CiiEY. Oh yes; I do know how! 
Gal. Well, doit then! 

Chry. It's a strange whim, but I will humor her {does so.) 

You're sure it's innocence? 
Gal. Of course it is. 

I tell you I was born but yesterday. 
Chry. Who is your mother? 
Gal. Mother! what is that? 

I never had one. I'm Pygmalion's child; 

Have people usually mothers? 
Chry. Well 

That is the rule. 
Gal. But then Pygmalion 

Is cleverer than most men. 
Chry. Yes I've heard 

That he has powers denied to other men, 

A.nd I'm beginning to believe it! [Aside.) 

Enter Daphne, u. e. r. 

Daph. Why [Gal. 

What's this? (Chrysos quickly moves aioay from 
Chry. My wife? 

Daph. Can I believe my eyes? {Qai,. rises) 

Chry. No! 

Daph. Who's this woman? Why, how very like 

Chry. Like what? 

Daph. That statue that we wished to buy, 

The self-same face, the self-same drapery, 

In every detail it's identical. 

Why, one would almost think Pygmalion, 



PYGMALION AND GALATEA. , 33 

By some strange means, had brought the thing to 
So marvellous her likeness to that stone. [life, 

Chey. (aside.) A very good idea, and one that I 
May well improve upon. It's rather rash. 
But desperate ills need desperate remedies, [to her,) 
Now for a good one. Daphne, calm yourself, (crosses 
You know the statue that we spoke of. Well, 
The gods have worked a miracle on it 
And it has come to life. Behold it here! 

Daph. Bah! Do you think me mad? 

Gal. His tale is true. 

I was a cold unfeeling block of stone, 
Inanimate — insensible — until 
Pygmalion, by the ardour of his prayers 
Kindled the spark of life within my frame 
And made me what I am! 

Chry. (aside to Gal.) That's very good; 

Go on and keep it up. 

Daph. You brazen girl, 

I am his wife! 

Gal. His wife? (JbCnKYSOS.) Then get you hence. 

I may not love you when your wife is here. 

Daph. Why, what unknown audacity is this? 

Chry. It's the audacity of innocence; 

Don't judge her by the rules that govern you, 
She was born yesterday, and you were not/ 

Enter Mimos, u. e. r. 

MiM. My lord, Pygmalion's here. 

Chry. (aside.) He'll ^uin all. 

Daph. (to Mimos.) Who is this woman ? 

Chry. Why, I've told you, she 

Daph. Stop, not a word! I'll have it from his lips! 

Gal. Why ask him when I tell you? 

Daph. Hold your tongue! 

(To Mimos.) Who is this woman ? If you tell a lie 

I'll have you whipped. 
Mim. Oh, I shall tell no lie! 

That is a statue that has come to life. 
Chry. (crosses and aside to Mimos) I'm very much obliged 
to you. (Gives him money.) 



84 PYGMALION AND GALATEA. 

Enter Mvuixe, u. e. k. 

Mte. What's this? 

Is anything the matter? 
Da PH. Certainly. 

This woman 

Myr. Is a statue come to life. 

C'HRY. I'm very much obliged to you! {(Jrosses to her.) 

Enter Pygmaliox, u. e. r. 

Pyg. How now 

Chrysos? (^Down c.) 

Chry. The statue! 

Da PPL Stop! 

Chry. Let me explain. 

The statue that I p)urchased 

Daph. Let me speak. 

Chrysos — this girl, Myrine, and your slave, 

Have all agreed to tell me that she is 

Pyg. The statue, Galatea, come to life? 

Undoubtedly she is! 
Chry. It seems to me, [Daphne.) 

I'm very much obliged to every one! (Crosses to 

Enter CVNISOA, u. E. R. 

Cvx. Pygmalion, my love! 

Pv(;. Cynisca here! 

Cvx. And even earlier than hoped to be. [pardon, sir. 

(J.v/.Ve.) Why who are these? (aloud.) I beg your 

I tiiouiiht my husband was alone. 
Daj^h. ( Maliciotislt/.) No doubt. 

1 also thought iny husband was alone; 

We wives are too confiding. 
Cyx. [Aside to Pygmalion) — Who are these? 
Pyg. Why, this is Chrysos, this is Daphne. They 

Have come — 
Daph. On very different errands, sir, [girl; 

[To Galatea) Chrysos has come to see this brazen 

I have come after Chrysos — 
Ckey. As you keep 

So strictly to the sequence of events 

Add this — Pygmalion came after you! 



PYGMALION AND GALATEA. 35 

Cyn, Who is this lady {alluding to Galatea?) Why, 

impossible ! 
Daph. Oh, not at all! {goes up e. with Cheysos.) 
Cyn. {Turning to ped.estaT) — And yet the statue's gone! 
Pyg. Cynisca, miracles have taken place; 

The gods have given Galatea life! 
Cyn. Oh, marvellous! Is this indeed the form 

That my Pygmalion fashioned with his hands? 
{Approadving Galatea loith great admiration^ 
Pyg. Indeed it is. 
Cyx. Why, let me look {Crosses to Galatea.) 

Yes, it's the same fair face — the same fair form; 

Clad in the same fair folds of drapery! 
Gal. And dost thou know me then? 
Cyn. Hear her! she speaks! 

Our Galatea speaks aloud! know thee? 

Why, I have sat for hours, and watched thee grow, 

Sat — motionless as thou — wrapped in his work, 

Save only that in very ecstacy 

I hurried ever and anon to kiss 

The glorious hands that made thee all thou art! [Aer.) 

Come — let me kiss thee with a sister's love {kisses 

See, she can kiss. 
Daph. (e.) Yes, I'll be bound she can ! 

Cyn. Why my Pygmalion, where's the joy 

That ought to animate the face of thine. 

Now that the gods have crowned thy wondrous skill. 

ChPvY. (ivho has c7'ossed behind to Pygmalion.) Stick to our 

story ; bold faced though she be [alluditig to Gal- 

She's very young, and may perhaps repent ; [atea, 

It's terrible to have to tell a lie. 

But if it must be told — why, tell it well ! 

{Goes up E. a7id sits.) 
Cyx. (getting angry.) I see it all. I have returned too soon. 
Daph. (e.) No, I'm afraid you have returned too late; 

Cynisca, never leave that man again, 

Or leave him altogether! 
Cyn. {astonished.) Why, what's this? 

Daph. Our husbands don't deserve- such wives as we, 

I'll set you an example ! {goi7ig.) 
Chry. {calmly.) Well, my dear, 



36 PYGMALION AND GALATEA. 

I've no objection to your leaving me; 

I've brought it on myself. 
Daph. Then I'll go home, 

And bolt the doors, and leave you 

Chky. {cilarmed.) Where ! 

Daph. Outside! (Exit u. e. ii.) 

(Chrysos, after a pause^ folloics her.) 
Cyn. {7'o Pyg.) Hast thou been false to all I said to thee 

Before I left? 
Gal. (u.) Oh, madam, bear with him, 

Judge him not hastily; in every word, 

In every thought he has obeyed thy wish. 

Thou badst him tei^speak to me as unto thee; 

And he and I have sat as lovingly 

As if thou had'st been present to behold [Pyg. 

How faithfully thy wishes were obeyed ! [Crosses to 
Cyn. (r.) Pygmalion! What is this? 
Pyg. (l., to Gal.) Go, get thee hence, 

Thou shouldst not see the fearful consequence 

That must attend those heedless words of thine! 
Gal. (c.) Judge him not hastily, he's not like this 

When he and I are sitting here alone. 

He has two voices and two faces, Madam, 

One for the world, and one for him and me! 
Cyn. {%(nth suppressed passion., crosses to Pyg.) Thy wife 
against thine eyes! Those are the stakes! 
Cj^ell, thou hast played thy game, and thou has lost, 
Pyg. Cynisca, hear me! In a cursed hour 

I prayed for power to give that statue life. 

My impious prayer aroused the outraged gods,— 

They are my judges, leave me in their hands. 

I have been false to them, but not to thee! 

Spare me! 
Cyn. Oh, pitiful adventurer! 

He dares to lose but does not dare to pay. 

Come, be a man ! See, / am brave enough 

And I have more to bear than thou! Behold! 

I am alone, thoa hast thy statue bride! 

Oh, Artemis, my mistress, hear me now 

Ere I remember how I love that man, 

And in that memory forget my shame. 



PYGMALIOX AND GALATEA. 37 

If he in deed or thought hath been untrue, 
Be just and let him pay the penalty! 

(Pygmaliox v'ith nn exclamation covers his eyes vnth his 

hands.) 
Gal. Cynisca, pity him ! {Crosses to her and kneels) 
Cyn. I know no pity, woman; for the act 

That thawed thee into flesh has hardened me 
Into the cursed stone from which thou cam'st. 
We have changed places; from this moment forth 
Be thou the wife and I the senseless stone! 

(Thrusts Galatea from her) 

END OF ACT II. [Quick Dkop.] 



ACT III, 

SCENE: Same as Acts I. and II. 
l^See Curtains to Pedestal 02)en.] 



Enter Daphne, u. e. e. 

Daph. It seems Pygmalion has the fearful gift 

Of bringing stone to life. I'll question him 
And ascertain how far that power extends. 

Enter Mykine, i. e. l., loeeping. 

Myrine — and in tears! Why, what's amiss? 

Myr. Oh, we were all so happy yesterday, 

And now, within twelve miserable hours, 
A blight has fallen upon all of us. 
Pygmalion is blind as death itself — 
Cynisca leaves his home this very day — 
And my Leucippe hath deserted me! 
I shall go mad with all this weight of grief I 

Daph. All this is Galatea's work? 

Myr. Yes, all. 



38 PYGMALION AND GALATEA. 

Daph. But can't you stop ner? Shut the creature up, 

Dispose of her, or break her? Won't she chip? 
Mye. No, I'm afraid not. 
Daph. Ah, were I his wife, 

I'd spoil her beauty! There'd be little chance 

Of finding him and her alone again! 
Mye. There's little need to take precautions now, 

For he, alas, is blind. 
• Daph. Blind! What of that? 

Man has five senses; if he loses one 

The vital energy on which it fed 

Goes to intensify the other four. 

He had five arrows in his quiver; well, 

He has shot one away, and four remain. 

My dear, an enemy is not disarmed 

Because he's lost one arrow out of five. 
Mye. The punishment he undergoes might well 

Content his wife! 
Daph. A happy woman that! 

Mye. Cynisca happy? 
Daph. To be sure she is; 

She has the power to punish faithlessness. 

And she has used it on her faithless spouse. 

Had I Cynisca's privilege, I swear 

I'd never let my Ciirysos rest in peace, 

Until he warranted my using it! 

Pygmalion's wronged her, and she's punished him. 

What more could woman want? 

Enter Cynisca, 2nd door l. 

Cyn. {coming forumrd.) ^hsitmore'^ Why this! 

The power to tame my tongue to speak the words 

That would restore him to his former self! 

The power to quell the fierce, unruly soul 

That battles with my miserable heart! 

The power to say, " Oh, my Pygmalion, 

" My love is thine to hold or cast away, 

"Do with it as tliou wilt; it cannot die!" 

I'd barter half my miserable life 

For power to say these few true words to him! 



PYG^MALION AND GALATEA. 39 

Mye. Why, then there's hope for him! 

Cyn. There's none indeed! 

This day I'll leave his home and hide away 
Where I can brood upon my shame. I'll fan 
The smouldering fire of jealousy until 
It bursts forth into an all-devouring flame, 
And pray that I may perish in its glow! {Crosses l.) 

Daph. That's bravely said, Cynisca! Never fear; 
Pygmalion will give thee wherewithal 
To nurture it. 

Cyn. (passionately, crosses to c.) I need not wherewithal! 
I carry wherewithal within my heart! 
Oh, I can conjure up the scene at will 
When he and she sit lovingly alone. 
I know too well the devilish art he works, 
And how his guilty passion shapes itself. 
I follow him through every twist and turn, 
By which he wormed himself into 771^ heart; 
I hear him breathing to the guilty girl 
The fond familiar nothings oi our love; 
I hear him whispering into her ear 
The tenderness that ho rehearsed on me. 
I follow him through all his well-known moods^ — 
Now fierce and passionate, now fanciful, 
x\nd ever tuning his accursed tongue 
To chime in with the passion at her heart. 
Oh, never fear that I shall starve the flame! 
When jealousy takes shelter in my heart. 
It does not die for lack of sustenance! (Crosses r.) 

Daph. Come to ray home, and thou shall feed it there; 
We'll play at widows, and we'll pass our time 
Railing against the perfidy of man. 

Cyn. But Chrysos? 

Daph. Chrysos? Oh, you won't see him? 

Cyn. How so? 

Daph. How so? I've turned him out of doors! 

Why, does the girl consider jealousy 
Her unassailable prerogative? 
Thou hast thy vengeance on Pygmalion — • 
He can no longer feast upon tht/ face. 
Well, Chrysos can no longer feast on mine! 



40 PYGMALIOX AND GALATEA. 

I can'^tput out his eyes, I wish I could; 
But 1 can shut them out, and that I've done. 

Cyn. I thank you madam, and I'll go with you (Goes up.) 

Myr. No, no; thou shalt not leave Pygmalion; (Crosses to 
He will not live if thou desertest him. [Cy'N. 

Add nothing to his pain — this second blow 
Might well complete the work thou hast begun ! 

Cyn. Nay, let me go — I must not see his face; 
For if I look on him I may relent. 
Detain me not, Myrine — fare thee well! 

[^Exit u. E. R., Myrine follows her.'\ 

Daph. Well, there'll be pretty scenes in Athens now 
That statues may be vivified at wall. 

(Chrysos enters u. e. r,, imohserved) 
Why, I have daughters — all of them of age — 
What chance is there for plain young women, now 
That every man may take a block of stone 
And carve a family to suit his tastes? 

Chry. If every woman were a Daphne, man 

Would never care to look on sculptured stone. 
(Sentimentally.) Oh, Daphne! 

Daph. Monster — get you hence, away! 

I'll hold no converse with you, get you gone. 
(Aside.) If I'd Cynisca's tongue I'd wither him! 
(Imitating Cynisca.) " Oh, I can conjure up the scene 
"Where you and she sit lovingly alone! [at will 
"Oh, never fear that I will starve the flame; 
"When jealousy takes shelter in my heart, 
"It does not die for lack of sustenance! " 

Chry. I'm sure of that! your hospitality 

Is well renowned. Extend it, love, to me! 
Oh, take me home again! 

Daph. Home! no, not I! 

Why, I've a gallery of goddesses. 
Fifty at least — half dressed bacchantes, too — 
Dryads and water nymphs of every kind; 
Suppose I find when I go home to-day, 
That they've all taken it into their heads 
To come to life — what would become of them, 
Or me, with Chrysos in the house? No — no, 



PYGMALION AND GALATEA. 41 

They're bad enough in marble — but in flesh ! ! ! 

I'll sell the bold-faced hussies one and all, 

But till I've sold them, Chrysos stops outside! 
Chry. What have I done? 

Daph. What have you done, sir. 

Chry. I cannot tell you — it would take too long! 
Daph. I saw you sitting with that marble minx, 

Your arm pressed lovingly around her waist. 

Explain that Chiysos. 
Chry. It explains itself; 

I am a patron of the arts, my dear. 

And I am very fond of statuary. 
Daph. Bah — I've artistic tastes as well as you, 

But still, you never saw me sitting with 

My arms around a stone Apollo's waist! 

As for this " statue " — could I see her now, 

I'd test your taste for fragments! 
Chry. Spare the girl, 

She's very young and very innocent, 

She claims your pity. 
Daph. Does she? 

Chry. Yes, she does. 

If I saw Daphne sitting with her arm 

Round an Apollo, I should pity liiin. 

(Putting his arm around her imist.) 
Daph . (relenting.) Would you ? 

Chry. I should, upon my word, I should. 

Daph. Well, Chrysos, thou art pardoned. {Embraces him.) 

The circumstances were exceptional. [After all 

Chry. (aside.) Unhappily, they were ! 
Daph. Come home, but mind, 

I'll sell my gallery of goddesses; 

No good can come of animating stone. (Goes up n.c.) 
Chry, Oh pardon me — why every soul on earth 

' Sprang from the stones Deucalion threw behind, 

(Goes up and loohs at statue r.) 
Daph. But then Deucalion only threw the stones, 

He left it to the gods to fashion them. 
Chry. (aside — looking at her.) And we who've seen the 
work the gods turned out. 



42 - PYGMALION AND GALATEA. 

Would rather leave it to Pygmalion ! [ Venus.) 

Dapb. {taking Chrysos' arm^ v^ho it>' looking at a statue of 

Come along, do! [^Exeiint^ ir. e. k. 

Enter Myrine, i. e. i>., in great distress. 

Myr. Pygmalion's heard that he must lose his wife, 
And swears, by all the gods that reign above, 
He will not live if she deserts him now! 
What — what is to be done? 

Enter Galatea, t. e. r. 

Gal. Myrine here! 

Where is Pygmalion? 
Myr. Oh, wretched girl! 

Art thou not satisfied with all the ill 

Thy heedlessness has worked, that thou art t3ome 

To gaze upon thy victim's misery? 

Well, thou hast come in time! 
Gal. What dost thou mean : 

Myr. Why this is what I mean — he will not live 

Now that Cynisca has deserted him. 

O, girl, his blood will be upon thy head! 
Gal. Pygmalion will not live! Pygmalion diel 

And I, alas, the miserable cause. 

Oh, what is to be done? 
Myr. I do not know. 

And yet there is one chance, but one alone; 

I'll see Cynisca, and prevail on her 

To meet Pygmalion but once again. [not live 

Gal. {wildly.) But should she come too late? He may 

Till she returns. [to thee, 

Myr. {fis struck hy a, sudden tJiought.) V\\ send him now 

And tell him that his wife awaits him here. 

He'll take thee for Cynisca; when he speaks 

Answer thou him as if thou wast his wife. 
Gal. Yes, yes, 1 understand. 
Myr. Then I'll begone, [2 d. l. 

The gods assist thee in this artifice! {Exit Myrine, 
Gal. The gods will help me, for the gods are good, [thee, 

{Kneels o.) Oh, heaven, in this great grief I turn to 

Teach me to speak to him, as, ere I lived, 



I'A'GMALION AXD GALATEA. 43 

Cynisca spake to him. Oh, let my voice 
Be to Pygmalion as Cynisca's voice, 
And he will live — for her and not for me — 
Yet he v/ill live. I am the fountain head. 

Enter Pygmaliox, 2 d. l., imohserved^ led in by Myrine. 

Of all the horrors that surround him now, 

And it is fit that I should suffer this; 

Grant this, my first appeal — I do not ask 

Pygmalion's love; I ask Pygmalion's life. 

(Pygmalion utters an exclamation of joy. She 
rushes to him and seizes his hanel.) 

Pygmalion ! 
Pyg. . I have no words in which 

To tell the joy with which I heard that prayer. 

Oh, take me to thine arms, my dearly loved! 

And teach me once again how much I risked 

In risking such a heaven-sent love as thine. 
Gal. (believing that he refers to her.) Pygmalion! my 
love ! Pygmalion ! 

Once more those words! again! say them again! 

Tell me that thou forgivest me the ill 

That I unwittingly have worked on thee! 
PvG. Forgive thee? Why, m.y wife, I did not dare 

To asy thy pardon, and thou askest mine. 

The compact with thy mistress Artemis 

Gave thee a heaven-sent right to punish me, 

I've learnt to take whate'er the gods may send. 

(Galatea, eit first delighted^ learns in the course of 
this speech that PygjMALion tahes herforCYisi^- 
OA, and ex2?resses extreme horror.) 
Gal. {^with an efort.) But then, this woman, Galatea — 
Pyg. ' Well? 

Gal. Thy love for her is dead? 
Pyg. I had no love. 

Gal. Thou had'st no love? | 

Pyg. No love. At first, in truth, i 

In mad amazement at the miracle 1 

That crowned my handiwork, and brought to life 
The fair creation of my sculptor's skill, 



44 PYGMAIJOX AN]) GALATEA. 

I yielded to her god-sent influence, 

For I had worshipped her before she lived 

Because she called Oynisca's face to me; 

But when she lived — that love died — word by word. 

Gal. That is well said; thou dost not love her then? 
She is no more to thee than senseless stone? 

Pyg. Speak not of her, Cynisca, for I swear 

Enter Cynisca u. e. e. unobserved. 
The unhewn marble of Pentelicus 
Hath charms for me, which she, in all her glow 
Of womanly perfection, could not match. 

Gal. I'm very glad to hear that this is so. 

Thou art forgiven! {l^ksos his forehead.) 

Pyg. Thou hast pardoned me, 

And though the law of Artemis declared 
Thy pardon should restore to ine the light 
Thine anger took away, I would be blind, 
.1 would not have mine eyes leit they should rest 
On her who caused me all this bitterness I 

Gal. Indeed, Pygmalion — 'twere better thus — 
If thou could'st look on Galatea now. 
Thy love for her, percliance, might come again. 

Pyg. No, no. 

Gal. They say that she endureth pains 

That mock the power of words. 

Pyg. It should be so. 

Gal. Hast thou no pity for her? (Cvnisca comes doum.) 

Pyg. No, not I. 

The ill that she hath worked on thee — on me — 
And on Myrine — surely were enough 
To make us curse the hour that gave her life. 
She is not fit to live upon this world! 

Gal. {bitterly.) Upon this worthy world, thou sayest well. 
The woman shall be seen of thee no more. 

(Takes Cyxisca's hand and leads her to Pyg.) 
What would'st thou with her now? Thou hast thy 

wife! 
(jShe suh.^tiJiiti'.-< (h'NiscA i)i her place., and retires., 
I u. E. w.., v'fppinri. Cynisca takes himto her arms 

and kisses h im. He recovers his sight.) 



PYGXALIOX AXD GALATEA. 45 

Pyg. Cjniscal seel the light of day is mine! | 

Once more I look upon thy well loved face ! 

E/iter Myi;ixe and Leucippe, u. e. r. 

Leuc. Pygmalion I Thou hast thine eyes again! 
Come — this is happiness indeed! 

Pyg. And thou? 

Myrinejias recalled thee? 

Leuc. No, I came, 

But more in sorrow than in penitence; 
For I've a hardened and a blood-stained heart, 
I thought she would denounce me to the law, 
But time, I found, had worked a wondrous change; 
The very girl, who half-a-day ago 
Had^ cursed me for a ruthless murderer, 
Not only pardoned me my infamy, 
But absolutely hugged me with delight, 
When she, with hungry and unpitying eyes, 
Beheld my victim— at the kitchen fire I 
The little cannibal-! 

Enter Galatea, u. e. k., down c. 

Myr. {after a pause^ Pygmalion! 

See — Galatea's here! (Galatea kneels to Pyg- 
malion). 
Pyg. Away from me. 

Woman or statue ! Thou the only blight 
That ever fell upon my love — begone, 

(She covers her eyes^ Cyistisca comforts her.) 
For thou hast been the curse of all who fell 
Within the compass of thy waywardness ! 
Cyx. No, no — recall those words, Pygmalion, 

Thou knowest not all. 
Gal. {rising 'and backing up stage.) Nay — let me go 
from him; 
That curse — his curse still ringing in mine ears. 
For life is bitterer to me than death. 

{She mounts the ste2)s of pedestal?) 
Farewell, Pygmalion — I am not fit 



46 PYGMALIOX AXD GALATEA. 

To live upon tliis world — this worthy world. 
{Curt((his begin to close sloidy around Galatea.) 

Farewell, Pygmalion. Farewell — farewell! 

(The curtains conceal her.) 
Cyn. {(HigrUy.) Thou art unjust to her as I to thee! 

Hers was the voice that pardoned thee — not mine. 

I knew no pity till she taught it me. 

I heard the words she spoke, and little thought 

That they would find an echo in my heart; 

But so it was. I took them for mine own, 

And asking for thy pardon, pardoned thee! 
Pyg. {amazed.) Cynisca! Is this so? 
Cyn. In truth it is? 

Gal. {behind curtain.) Farewell, Pygmalion! Farewell 
— f arew^ell ! 

Pygmalion rushes to the veil amd tears it away 
discovering^ Galatea as a statue on the pedeMal., 
as in Act J.) 

[Soft Music. — Slow Cuktain. 



THE END. 



A MODERN ANANIAS, 

Comedy in Three Acts 

BY 
JOHN A. FRASER, Jr. 

Four male, four female characters. Two interior, one exterior scenes. 
Modern society cotumes. Plays two and one half hours. This is a screaming 
farcial comedy, which depends upon the wit and hamor of its lines no less 
than upon the drollery and absurdity of its situations for the shrieks of laugh- 
ter it invariably provokes. Unlike most farcical comedies, "A Modern Ana- 
nias" has an ingeniously complicated plot, which maintains a keen dramatic 
interest untill the fall of the last curtain. The scenery, if necessary, may be 
reduced to a garden scene and an interior. Every character in the piece is full 
of comedy of the most humorous description, and one of them, a fat old maid, 
may be performed by a male somewhat after the fashion of "Charley's Aunt." 
The climaxes are hilariously funny, and each of the three acts is punctuated 
with laughs from beginning to end. Amateurs will find nothing more satis- 
factorj'- in the whole range of the comic drama than this up-to-date comedy- 
farce by J. A. Fraser, Jr. The fullest stage directions accompany the book, 
including all the "crosses" and positions, pictures, etc. Price, 25 cents. 



TWIXT LOVE AND MONEY, 

Comedy Drama in Four Acts 

BY 
JOHN A. FRASER, Jr. 

Eight male, three female characters. Plays two and one-half hours. Three 
interior scenes. Costumes of the day. This charming domestic comedy drama 
of the present day bids fair to rival, both with professionals and amateurs, the 
success of "Hazel Kirke." The scene is laid in a little village on the coast of 
Maine, and the action is replete with dramatic situations which "play them- 
selves." The story is intensely interesting and, in these days of Frenchy adap- 
tations and "problem" plays, delightfully pure; while the moral— that love 
brings more happiness than does money— is plainly pointed without a single 
line of preaching. No such romatic interest has been built up around a simple 
country heroines since the production of ''Hazel Kirke" and "May Blossom" 
years ago. The play is in four acts, and as the scenery is easy to manage it is 
particularly well adapted for the use of amateurs. There are three female 
parts, two of them comic characters, and eight males, two of whom supply the 
comedy. The dressing is all modern and the piece forms a full evening's en- 
tertainment. The author, J. A. Fraser, Jr., has been highly successful as a 
dramatist for the professional stage, having written. "The Noble Outcast" 
"Edelweiss." "The Merry Cobbler." The Train Wreckers," "A Delicate 
Question." "A Modern Ananias." "Becky Bliss, the Circus Girl," and many 
other well-known and successful plays. "Twixt Love and Money" has been 
carefully revised by the author for the amateur stage. Price 25 cents. 

The Dramatic Publishing Company, Chicago. 



THE MERRY COBBLER. 

Comedy Drama in Four Acts 

BY 
JOHN A. FRASER, Jr. 

Six male, five female characters. Two interior, two exterior scenes. Mod- 
ern costumes. Time of play, one hoar and forty-five minutes. This refined, 
yet laugliter-making comedy, in which John R, Cumpson starred successfully 
for several seasons, has loeen carefully revised by the author for the amateur 
stage. Tiiis romantic story of a German imigrant boy in New Orleans, who 
falls in love with, and finally marries, a dashing Southern belle, is one of the 
cleanest and daintiest in the whole repertoire of the minor stage. In addition 
to the Merry Cobbler himself, who is one of the type the late J. K. Emmet so 
loved to portray, there are five other male characters, five female parts and 
very short parts for two little girls. Had the piece been originally written 
for the use of amateurs, it could not have been happier in its results, its natural 
and mirth-provoking comedy combined with a strong undercurrent of heart- 
interest, rendering it. a vehicle with which even inexperienced actors are sure \ 
to be seen at their best. The scenic effects are of the simplest description and 
the climaxes, while possessing the requisite amount of "thrill" are very easy 
to handle. This piece has been seen in all the larger cities of the Union dur- 
ing the past four seasons, and is now placed within the reach of amateurs for 
the first time. J. A. Eraser, Jr., author of " The Merry Cobbler," and a score 
of other successful plays, has prepared elaborate instructions for its production 
by amateur players. Price, 25 cents. 



A DELICATE QUESTION, 

Comedy Drama in Four Acts 

BY 
JOHN A. FRASER, Jr. 

Nine male, three female characters. One exterior, two interior scenes. 
Modern costumes. Plays two hours. If a play presenting an accurate picture 
of life in the rural districts is required, in which every character has been faith- 
fully studied from life, nothing better for the use of amateurs than "A Delicate 
Question " can he recommended. The story is utterly unlike that of any other 
play and de als with the saloon, which it handles without gloves and at the 
same time without a single line of sermonizing. What "Ten Nights in a Bar. 
room" was to the public of a past generation, "A Delicate Question" is des- 
tined to be to the present, although it is far from being exactly what is known 
as a "temperance play," The plot is intensely interesting, the pathetic scenes 
full of beauty, l)ecause they are mental photographs from nature, and the com- 
edy is simply upfSariously funny. The parts, very equally balanced. The 
scenic effects are quite simple, and by a little ingenuity the entire piece may 
be played in a kitchen scene. The climaxes are all as novel as they are eflfec- 
tive and the dialogue is as natural as if the characters were all real people. 
The author, J. A. Fraser. Jr., considers this one of his greatest successes. 
Price, 25 cents. 

The Dramatic Publishing Company, Chicago, 



THE DEESTRICK SKULE 

— OF — 

FIFTY YEARS AGO 

"The Deestrick Skule" has been given in scores of towns, and 
everywhere with success. The manual gives full instructions for get- 
ting up the "Deestrick Skule," It contains the questions and answers 
or the various classes, hints on costume, several "Compositions and 
pieces" for the latter part of the entertainment, a parting poetical 
Tribe-ute," from the "Maw" of two pairs of twins, and the speech of 
he "Head Committee Man." 

"One of the best entertainments of the kind it has been my 
•leasure to attend— Florence Lee in Good Housekeeping. 

Sent postpaid on receipt of price, 50 cents. 



BY EFFIE W. MERRIMAN. 

"With a view to providing societies or clubs devices both for enter- 
ainment and for making money for worthy objects, Effie W. Merri- 
lan, a well known writer of children's books, has completed a collec- 
ion of schemes for socials, which meet a long felt want. A church 
eeds furnishing, a poor family needs assistance, a new organ is want- 
d, a school library is to be started, a hospital calls for assistance and 
he question arises what can be got up that will be new and enter- 
aining. To reply to this the suggestions in this book are made. Many 
'f them possess novel features and while simple would be apt to pro- 
ide plenty of amusement as well as money. — Hartford Post. 

"This little book supplies a long felt want on the part of societies, 
lubs, benevolent associations and other organizations for novelties 
nd entertamments. 

"More than a score of amusing socials and other entertainments 
re described in such plain and concise terms that no one of average 
bility could be other than successsful in their management." — Chicago 
7lobe. 

Sent postpaid on receipt of price, 50 cents. 

The Dramatic Publishing Company. 

CHICAGO. 



LIBRftRY OF CONGRESS 



014 

PLAYS 



014 491 073 4 # 




\ A 7 E keep in stock one of the largest and 
^^ best assorted lines of plays to be 
found in the country. 

We can furnish any play published. 
Individuals and societies interested in 
this class of publications should first 
examine our lists before ordering else- 
where. 

Full descriptive catalogue, giving 
titles, number of characters, time required 
for production, etc., w^ill be sent free on 
application. 

The Dramatic Publishing Company, 
358 Dearborn Street, 

CHICAGO. 



